In previous reviews in both mwe3.com and in my twelve years as the
reviews editor with 20th Century Guitar magazine, I always singled
out great guitarists from Long Island for review. Although rock legends
like Lou Reed and Leslie West are noted Long Islanders who made it
big in the rock world, many great players are equally deserving of
some press. Case in point is Long Island guitarist Garry Katz. Garry
made waves with his 2007 album Straight On Till Morning, which
this writer featured in the February 2007 issue of 20th Century Guitar
magazine. You can see the interview on Garrys web site where
its been archived and now in 2010, mwe3.com is pleased to review
Garrys 12 cut all instrumental compilation CD, released on his
own Soundscope / Cottage Records label. 0 To 60 - Collected features
classic previously released Katz tracks, several newly remixed and
overdubbed tracks plus three brand new tracks. Garry describes the
guitar based collection as a mixture of fusion, rock, funk and acoustic
instrumental pieces. With Garry handling all the electric lead and
rhythm guitars, guitar synth, fretless bass guitar and more, 0
To 60 - Collected also features key contributions from several
other musicians including drummers Frank Pace and Leo Portuesi.
With its mix of cosmic, New Age-y style instrumental rock or straight
ahead, hard hitting instrumental rock fusion, 0 To 60 - Collected
has something for all types of guitar instrumental aficionados.
WEB EXPRESS 3000
the past twenty years, the guitar has given me a way to communicate
through notes and chords in a way nothing prior ever had. Playing
guitar afforded me an opportunity to perform, travel, record and produce
in a broad range of areas. Some high points along the way include
working with Dennis Willams of the O'Jays, touring with Badfinger,
and having the good fortune to work with many talented artists and
groups, both in recording studios and live onstage.
2010 I laid down the final tracks to 0 To 60 in my New York
studio on a Roland 24-track digital hard drive. I played the guitars,
bass, guitar synthesizers, and programmed some drums on the album.
For the guitar synth parts, I used the GR30, another great piece of
Roland gear. I used this for various string sounds, pianos and piano
solos, and for fretless bass parts, among others. Drummer Frank Pace
was instrumental in adding to the live energy and feel of the record.
one guitar is and for the last twenty years has been my Sunburst Washburn
SB-8. Originally purchased as a backup for a Fender Strat, I soon
came to realize that no other guitar sounded as good to me as the
Washburn. A major factor in the Washburn's usability for me is it's
flexibility. The bridge pickup splits between a single coil and a
humbucker, which gives me a nice balance of tones. The single coil
setting lets me get great Strat-style sounds for funk, R&B, and
big tone colors, while the bridge pickup gives me big Les Paul type
lead sounds. A Roland MIDI pickup is set up next to the bridge to
access the GR30 guitar synthesizer. The Guitar Museum in New Hyde
Park, N.Y. does my guitar setups.
I remember hearing, the earliest on that made an impression was Simon
& Garfunkel. I loved their sound, and later on remember being
blown away by the lyrics to the Sounds Of Silence. I also
remember hearing The Beatles a lot when I was young and loving their
unique and timeless song writing styles. Their Revolver album
remains my favorite, and also contains more recording innovations
than possibly any album ever made.